Monday, January 26, 2015



GRVD: Explain the importance of emotionality behind your work. Do you try to incorporate a human-emotion element or do you intend to have the music and sounds be an entity deprived of humanity all together? 

AG: Both I feel are extremely important to the project. A lot of stems from my personal experiences performing live. I have very vivid hallucinations when performing and recording. I visualize the atmosphere, Like a heavy fog above the audience. I used to try dive into it in order to become it, taking away the human element, but at the same time remaining very attached to it (but now it feels so natural to me to play this way). It's strange and difficult to explain. Becoming the atmosphere allows me to control completely what's going on and sort of posses people in this spiritual way. It's very detached from reality but at the same time very personal and natural. I try become the entity. I see AG as a living breathing sound, for me it's very a very spiritual moment. I try and recreate that visual into a sound when recording, so it has a very real and personal sound that's not only created live. It's almost pure solitude.

GRVD: Where would you like to take AG in the future? Do you intend to expand the project on a grander scale? 

AG: Currently I'm working on a lot of collaborations with really different styles. I really enjoy working this way. It challenges me me to adapt and experiment with new things. I think I will continue this approach for a while. I'd like to take the project into a more professional and mainstream style. Hopefully breaking out of the lo-fi diyness of it and spend more time and money into recordings and writing. I'd like to push myself to play live more and work with more people live. I'm thinking of playing along side drummers, shaping the project more into an orchestra. 

GRVD: From an aesthetic standpoint, AG has a very grounded and firm stylistic standpoint. Could you possible explain the influence behind the artistic and visual aspect of AG? 

AG: The Visual side of AG is just as important as its sound. I often work with very barren, futuristic imagery, and nature. Flowers being the main image of the AG. I feel this captures the main themes of fragility, destructiveness and emptiness that surrounds the names sound. I'm constantly searching for something new, always expanding and growing. At times more beautiful and delicate but also very sharp and desolate. I like the image to be just as strong and bold as the sound. I'm really interested in Architecture and nature, so it's very important to Alocasia Garden. It's similar to the way I record. The project always starts with a vision of a barren, dystopian scene. I try build on that as much as I can and eventually get lost in it. I wanted to stir away from the iconic negative imagery often used in noise. I used that in previous, harsher projects. I wanted to build something new.

GRVD: Care to list off some musical/noise influences for the project?

AG: I like to keep my musical outcome as isolated to other works as much as possible. I can take to much influence from other sounds. After recording I find it impossible to connect to the finished outcome. I normally hibernate when it comes to recording. Surprisingly I don't listen to much noise, Although there;s a few names that really stand out to me. I mostly watch videos of shows to find other ways of how artists can control and involve the audience. Puce Mary and Pharmakon play a big part in that I think. I pushes me to experiment more with aspects outside sound, It's almost performance art, which I'm really interested in. But at the very start of the project, Cremation Lily and Damien Dubrovnik played a huge role in my life since I was 16. They showed me that there was different ways I could explore myself and music rather than playing 30 second powerviolence songs I felt no real personal connection too. Before it was just all anger and hate, but that really clouded what I could really do and what I wanted to do.

GRVD: Has AG ever toured? If so, what was that experience like. If not, do you intend on touring in the future? 

AG: Sadly, I have never toured (and not played many shows in general for that matter) but it's been my dream to tour since playing in my first DIY band when I was 14. I am planning a collaborative tour with a new artist 'uselt', a noisy industrial project by my friend Sara. We will be playing in August around Malmo and Denmark. Money and being so young makes it extremely difficult for me. I'd like to do some small UK tours this year. I wan't to travel as AG as much as possible.

GRVD: Do you have any thoughts on the American noise scene? Do you prefer the UK's contributions more? If so, please explain why?

AG: I'm a little out of touch with the US scene the past year. But there's a lot of really great stuff out there. I think it's very different from the UK. It's much more aggressive, fast paced and harsh. Like a powerviolence band or being strapped to the front of a roller coaster. It has a really strong message and has a very violent sound, I like that. I think the UK noise scene is more gritty, raw and disconnected from a a community (but it's on the rise!) It's not such a big thing here(In smaller towns like my own at least) It's more something that's hidden away among smaller groups. It's there, but no one really wants to talk about it. But it's really exciting to be part of a growing scene and helping forge it. I've met some amazing people here since making horrible music. US by the looks of it is a large community, in the same fringe of the punk scene. But I've not been 'involved' in noise that long to really know it well.

GRVD: Anything you'd like to leave us with?

AG: I have a few tapes and shows on the way. Including a C60 out next month on Vanity Pill. Thank you for taking the time to interview me and the continuing support. I look forward to what comes next. X 


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